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Journal articles on the topic 'Antigone (Sophocles)'

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Published: 4 June 2021
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1

Gregory, Justina, and Mark Griffith. "Sophocles: Antigone." Phoenix 55, no. 3/4 (2001): 424. http://dx.doi.org/10.2307/1089132.

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2

Kirkwood, G. M., Sophocles, and Andrew Brown. "Sophocles: Antigone." Classical World 82, no. 3 (1989): 213. http://dx.doi.org/10.2307/4350371.

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3

Cairns, Douglas, and Brendan Kennelly. "Sophocles' Antigone." Classics Ireland 5 (1998): 141. http://dx.doi.org/10.2307/25528328.

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4

Frank, Bernhard. "Sophocles' Antigone." Explicator 56, no. 4 (1998): 170–71. http://dx.doi.org/10.1080/00144949809595302.

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5

LEACH, COLIN. "SOPHOCLES' ANTIGONE." Notes and Queries 47, no. 2 (June 1, 2000): 155—a—155. http://dx.doi.org/10.1093/nq/47-2-155a.

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LEACH, COLIN. "SOPHOCLES' ANTIGONE." Notes and Queries 47, no. 2 (June 1, 2000): 155—b—155. http://dx.doi.org/10.1093/nq/47-2-155b.

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7

STANLEY, E. G. "SOPHOCLES' ANTIGONE." Notes and Queries 47, no. 2 (June 1, 2000): 156—a—156. http://dx.doi.org/10.1093/nq/47-2-156a.

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8

STANLEY, E. G. "SOPHOCLES' ANTIGONE." Notes and Queries 47, no. 2 (June 1, 2000): 156—b—156. http://dx.doi.org/10.1093/nq/47-2-156b.

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9

STANLEY, E. G. "SOPHOCLES' ANTIGONE." Notes and Queries 47, no. 2 (June 1, 2000): 156—c—156. http://dx.doi.org/10.1093/nq/47-2-156c.

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10

STANLEY, E. G. "SOPHOCLES' ANTIGONE." Notes and Queries 47, no. 2 (June 1, 2000): 157—a—157. http://dx.doi.org/10.1093/nq/47-2-157a.

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11

STANLEY, E. G. "SOPHOCLES' ANTIGONE." Notes and Queries 47, no. 2 (June 1, 2000): 157—b—157. http://dx.doi.org/10.1093/nq/47-2-157b.

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12

LEACH, COLIN. "SOPHOCLES' ANTIGONE." Notes and Queries 47, no. 2 (2000): 155—a—155. http://dx.doi.org/10.1093/nq/47.2.155-a.

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13

LEACH, COLIN. "SOPHOCLES' ANTIGONE." Notes and Queries 47, no. 2 (2000): 155—b—155. http://dx.doi.org/10.1093/nq/47.2.155-b.

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14

STANLEY, E. G. "SOPHOCLES' ANTIGONE." Notes and Queries 47, no. 2 (2000): 156—a—156. http://dx.doi.org/10.1093/nq/47.2.156-a.

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15

STANLEY, E. G. "SOPHOCLES' ANTIGONE." Notes and Queries 47, no. 2 (2000): 156—b—156. http://dx.doi.org/10.1093/nq/47.2.156-b.

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16

STANLEY, E. G. "SOPHOCLES' ANTIGONE." Notes and Queries 47, no. 2 (2000): 156—c—156. http://dx.doi.org/10.1093/nq/47.2.156-c.

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17

STANLEY, E. G. "SOPHOCLES' ANTIGONE." Notes and Queries 47, no. 2 (2000): 157—a—157. http://dx.doi.org/10.1093/nq/47.2.157-a.

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18

STANLEY, E. G. "SOPHOCLES' ANTIGONE." Notes and Queries 47, no. 2 (2000): 157—b—157. http://dx.doi.org/10.1093/nq/47.2.157-b.

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19

Taylor, George. "Sophocles' Antigone:." Studies in Theatre Production 3, no. 1 (January 1991): 4–16. http://dx.doi.org/10.1080/13575341.1991.10806835.

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20

Brown, Andrew. "Notes on Sophocles' Antigone." Classical Quarterly 41, no. 2 (December 1991): 325–39. http://dx.doi.org/10.1017/s000983880000450x.

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My recent edition of Antigone (Warminster, 1987) was not intended primarily as a contribution to textual criticism. I did no work on the manuscripts, and little work on tracing the sources of old conjectures. Nevertheless, some of my thoughts on the text may merit fuller discussion than I was able to give them in a beginners' edition. And there have been more recent developments: in particular we now have a new Oxford Text of Sophocles with a companion volume of Sophoclea, and I have benefited from stimulating discussion with Dr David Kovacs, who has kindly allowed me to see a draft of some forthcoming notes of his own.
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21

Kocijančič, Matic. "First as Creon, then as Chorus: Slavoj Žižek’s Antigone." Interlitteraria 25, no. 1 (June 30, 2020): 231–45. http://dx.doi.org/10.12697/il.2020.25.1.19.

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The article critically evaluates The Three Lives of Antigone, Slavoj Žižek’s first dramatic work. Žižek’s polemical rewriting of Sophocles’ tragedy is examined in the broader perspective of Žižek’s philosophy and other Antigones: those of Sophocles, Jean Anouilh, Bertolt Brecht and Dominik Smole. Slavoj Žižek has interpreted Sophocles’ Antigone in numerous philosophical works. In his earlier treatises, he mainly gave a cautious summary of Hegel’s, Heidegger’s and Lacan’s theses on Antigone; lately, however, Žižek’s attitude to Sophocles’ Antigone has grown decidedly negative. The main point in Žižek’s critique of Sophocles’ tragedy is that his Antigone is not an appropriate symbol of genuine social revolt. Based on this conviction, Žižek contrived his own version of Antigone with an alternative ending in which the choir carries out a revolution and condemns Antigone to death. It is argued in the article that Žižek’s dramatic project fails to convince. It is essentially a superficial apology for political violence, which can ultimately only be understood as a veiled defence of the political status quo.
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22

Fernandes, Sara. "Da Ética à Religião." Philosophica: International Journal for the History of Philosophy 8, no. 16 (2000): 103–15. http://dx.doi.org/10.5840/philosophica200081617.

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Paul Ricoeur sustains in Soi-même comme un autre that the tragical conflict in Sophocle’s Antigone is only ethical. Antigone and Creon confront each other because they both have limited and partial views of good life. The aim of this brief paper is to show that Antigone's tragedy must be situated in the religions domain. Only Greek theology - the belief in a ‘cruel’ and ‘satanic’ God - gives us the ‘tools’ to understand Sophocles' complex imaginary.
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23

Wald, Christina. "Migrant Deaths and European Revenants in Thomas Köck’s antigone. a requiem (2019): Sophocles’ Tragedy Recomposed and Decomposed." Modern Drama 65, no. 4 (December 1, 2022): 547–70. http://dx.doi.org/10.3138/md-65-4-1216.

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This article discusses antigone. a requiem (2019) by the Austrian playwright Thomas Köck as one of the latest contributions to a growing body of work that has engaged with Sophocles’ Antigone in light of current migration debates. Avoiding psychological realism in favour of postdramatic techniques, antigone. a requiem differs aesthetically from other recent revisions in that this tragedy-as-requiem does not primarily aim for the audience’s affective response. Inspired by Judith Butler’s theory of the spectral return of socially neglected, ungrievable lives, the play replaces Antigone’s unburied brother with corpses washed ashore on European beaches to question European migration policies through a critical assessment of Europe’s necropolitics. Formally recomposing Sophocles’ tragedy as a requiem with a distinct linguistic musicality, Köck’s play skilfully repurposes the funeral song shared by Sophocles’ Antigone and chorus and relocates Antigone’s anagnorisis to the chorus of contemporary Europeans who eventually recognize themselves in the dead. Köck’s requiem also decomposes its model, as it stages the undead as revenants who return to remind Europe of its history of colonization and exploitation, in which Sophocles’ Antigone was employed as a carrier of European values. In this respect, Köck’s recomposition also sings a requiem for Antigone itself.
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24

Wilson, Joseph P., William Blake Tyrrell, and Larry J. Bennett. "Recapturing Sophocles' "Antigone"." Classical World 94, no. 3 (2001): 294. http://dx.doi.org/10.2307/4352574.

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25

Davidson, J. F. "Sophocles Antigone 134." Mnemosyne 40, no. 3-4 (1987): 268–75. http://dx.doi.org/10.1163/156852587x00472.

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26

Toohey, Peter. "Sophocles, Antigone 567." Mnemosyne 41, no. 3-4 (1988): 375–78. http://dx.doi.org/10.1163/156852588x00642.

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27

Ledbetter, Grace M. "Sophocles, Antigone 1226–30." Classical Quarterly 41, no. 1 (May 1991): 26–29. http://dx.doi.org/10.1017/s0009838800003499.

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‘Unhappy boy, what a deed you have done! What came into your mind? What disaster destroyed your reason?’ This version of 1228–9, by Andrew Brown in his recent commentary, represents the majority opinion. But what ‘deed’ has Haemon done that justifies such an outburst? Jebb, followed by Kamerbeek and Brown, claims that the deed which causes Creon to wail aloud with charges of insanity is Haemon's entry into Antigone's tomb. Kamerbeek and Brown justify the extremity of Creon's reaction by claiming that Creon knows that Haemon intends to kill himself. But is it reasonable to suppose that Creon's first reaction to the shocking scene of Antigone's hanging corpse and Haemon helplessly wailing would be that Haemon is on the verge of killing himself? Creon has not had time to predict his son's actions and his screams of dismay are most naturally read as a reaction to something he sees before his eyes. It would also be strange if Creon had absolutely no reaction to Antigone's death; he expected to find her alive.
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28

Jones, D. Mervyn. "Sophocles, Antigone 2–3." Classical Quarterly 45, no. 1 (May 1995): 237. http://dx.doi.org/10.1017/s0009838800041847.

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The duplication ο τι…οποιν has caused much trouble. However, schol. on explains ο τι by αντι τον οποιον. The οποιον may well have begun life as an intramarginal gloss written against the beginning of 2–3, which the next scribe mistook for the first word of 3 in the text, and dropped the original first word, which on this hypothesis would not necessarily bear any literal resemblance to οποιον. As for what this word was, there are obviously many possibilities; if for instance it was οανοντος, that would make explicit the contrast between the dead Oedipus and νωνπωοαιν, in a manner helpful to the context.
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29

Hadjistephanou, C. E. "Sophocles Antigone 179 f." Mnemosyne 46, no. 2 (1993): 227–28. http://dx.doi.org/10.1163/156852593x00510.

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30

Viketos, Emmanuel. "Sophocles Antigone 435-36." Classical Philology 81, no. 1 (January 1986): 55. http://dx.doi.org/10.1086/366957.

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31

Lima, Paulo Alexandre. "Religious Conflict in Sophocles’ Antigone." Cultura, no. 35 (December 1, 2016): 267–87. http://dx.doi.org/10.4000/cultura.2620.

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32

Bennett, Larry J., and Wm Blake Tyrrell. "Sophocles' Antigone and Funeral Oratory." American Journal of Philology 111, no. 4 (1990): 441. http://dx.doi.org/10.2307/295240.

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33

Lloyd-Jones, Hugh. "Sophocles, Oc 1729–30." Classical Quarterly 41, no. 2 (December 1991): 532–33. http://dx.doi.org/10.1017/s0009838800004699.

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Antigone and Ismene know that the situation of their father's grave must remain a secret to all except Theseus; but Antigone cannot help suggesting to her sister that they make their way back in the hope of setting eyes upon the burial place of Oedipus. How, Ismene asks her, can this be right in the sight of heaven? θμις δ πς τάδ'στί; μν | οὐχ ρις;
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34

Woo, Seungjeung. "The Women and Disaster in the Two Worlds: Antigone and Antigone of the Movie, 2019." Korean Society of Culture and Convergence 44, no. 10 (October 31, 2022): 665–76. http://dx.doi.org/10.33645/cnc.2022.10.44.10.665.

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This study examines that Antigone by Sophocles and Antigone of 2019 by Sophie Deraspe are disaster humanities to describe the reality of national laws causing disaster to individuals. Antigones in the drama and movie experience disaster because of the law in their societies. The laws don’t protect them but give suppression and marginalization. The laws of Athens did not define women as independent subjects. Antigone by Deraspe claims that the law that sentenced Antigone’s sacrifice guilty is unfair. Two works not only describe the resistance against the unjust oppression imposed by the laws but raise public awareness of the disaster inflicted on the week. The movie emphasizes on the solidarity, which means the stop against the violence of the others or the week, and hope for the society coexisting with them.
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35

Coo, Lyndsay. "SHIFTING SISTERHOOD: ELECTRA AND CHRYSOTHEMIS IN SOPHOCLES’ ELECTRA." Ramus 50, no. 1-2 (December 2021): 89–108. http://dx.doi.org/10.1017/rmu.2021.8.

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When Sophocles wrote Electra's story, he gave her a sister, Chrysothemis. In their two scenes together, the sisters warn, entreat, cajole, insult, spar with, and proclaim affection for each other. While Electra maintains her public mourning for their father Agamemnon, Chrysothemis chooses not to openly defy his murderers, Aegisthus and their mother Clytemnestra, believing that resistance that accomplishes nothing is futile. Time has not been kind to this more pragmatic sister. In English-language criticism, she has acquired her own epithet, ‘timid’; her femininity has been dismissed as vacuous and her morality as driven by material self-interest. For many critics, she is a shallow and conventional figure whose main purpose is to act as a foil to the exceptional Electra. Since the pairing of a ‘stronger’ and a ‘weaker’ sister recurs in the depiction of Antigone and Ismene in Sophocles’ Antigone, this portrait of two contrasting sisters has been recognised since antiquity as distinctively Sophoclean, and the corresponding reduction of the sister–sister bond to a template has frequently precluded deeper examination of this relationship in both plays.
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36

Jirsa, Jakub. "Value pluralism, Sophocles' Antigone and liberalism." Aither 2, no. 4 (September 30, 2010): 69–105. http://dx.doi.org/10.5507/aither.2010.021.

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37

Sourvinou-Inwood, Christiane. "THE FOURTH STASIMON OF SOPHOCLES' ANTIGONE." Bulletin of the Institute of Classical Studies 36, no. 1 (December 1, 1989): 141–65. http://dx.doi.org/10.1111/j.2041-5370.1989.tb00571.x.

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38

Clarke, Michael. "Thrice-Ploughed Woe (Sophocles, Antigone 859)." Classical Quarterly 51, no. 2 (December 2001): 368–73. http://dx.doi.org/10.1093/cq/51.2.368.

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39

Brown, Andrew. "Foreign Bodies: Sophocles Antigone 1080-1083." Mnemosyne 69, no. 1 (January 26, 2016): 29–54. http://dx.doi.org/10.1163/1568525x-12341773.

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The article seeks to place Wunder’s deletion of Antigone 1080-1083 beyond reasonable doubt. The standard interpretation of the lines makes them intrusive both in their immediate context and in the play as a whole: we find that a ruling which Creon has not issued has led to pollution which does not make sense at cities which do not exist, provoking them to hatred which Creon will ignore and which will have no effect within the play or beyond it. An alternative interpretation, taking the lines as a generalisation, is no more successful, and the lines themselves are poorly written. An appendix discusses other possible interpolations in the speeches of Tiresias, concluding that lines 1004, 1013 and 1079 are probable instances.
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40

Rosivach, Vincent J. "The Interpretation of Sophocles "Antigone" 926." Classical Philology 84, no. 2 (April 1989): 116–19. http://dx.doi.org/10.1086/367147.

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41

Burns, Tony. "Sophocles' Antigone and the History of the Concept of Natural Law." Political Studies 50, no. 3 (August 2002): 545–57. http://dx.doi.org/10.1111/1467-9248.00384.

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This paper focuses on two related questions. The first of these is a general question. Where are the origins of the concept of natural law to be located in the history of political thought? The second is more specific. Sophocles puts into the mouth of the eponymous heroine of his Antigone an argument justifying her disobedience to an edict of her uncle Creon, who forbade her to bury her brother Polyneices. Does this argument involve an appeal to the concept of natural law? The paper takes issue with the claim, first made by Aristotle in his Rhetoric, that Sophocles' Antigone is indeed an early example of the application of the concept of natural law in political argument and debate. This interpretation of the political message of the Antigone is inconsistent with what we know about Sophocles' attitude towards the fundamental questions of Athenian politics in the classical era of Periclean democracy during the fifth century BC.
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42

Kocijančič, Matic. "Sophocles’s Antigone on Slovenian Professional Stages." Amfiteater 9, no. 2021-2 (June 30, 2022): 312–15. http://dx.doi.org/10.51937/amfiteater-2022-1/312-315.

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Sophocles’s Antigone has a rich and unique history of being performed on Slovenian professional stages for over a century. It began with the unsuccessful performance directed by Hinko Nučič in the Drama Ljubljana in 1912. It continued with Fran Lipah’s popular production in the same theatre on the eve of World War II. After the war, the Celje City Theatre took the lead in staging the tragedy; in fact, it was the only Slovenian professional theatre to stage it, first in 1956 (dir. Herbert Grün), then in 1973 (dir. Franci Križaj), and most recently in 2011 (dir. Anđelka Nikolić). The main reason for the odd absence of Sophocles’s Antigone on other Slovenian professional stages was probably the extraordinary popularity of Smole’s play by the same title, which was staged no less than eight times over this period. In addition, Sophocles was also ousted by the (rarer) staging of other modern Antigones (Dušan Jovanović, Miro Gavran, Janusz Głowacki). However, the last decade has seen revived interest in Sophocles’s version (and, at the same time, declining interest in staging Smole, which confirms our speculation that they compete for a place in the programme). Following the critically well-received production directed by A. Nikolić, the year 2013 was the first to see two productions, one in the Ljubljana City Theatre (play reading, dir. Ira Ratej) and the other in the Ljubljana Puppet Theatre (dir. Marko Čeh). Lastly, in 2017, Antigone also made a striking return to SNT Drama Ljubljana (dir. Eduard Miler). The article gives an overview of all these productions and evaluates them by drawing on their reception by contemporary critics and later theatre historians.
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43

Noguera, Lía Sabrina. "Reescrituras de la tragedia en el teatro latinoamericano contemporáneo. El caso Antígona." Catedral Tomada. Revista de crítica literaria latinoamericana 7, no. 13 (January 8, 2020): 54–74. http://dx.doi.org/10.5195/ct/2019.407.

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In the present article we propose to perform an analysis of various rewrites that from Latin America have been made from the text Antigone by Sophocles, taking as corpus of analysis: Antigone Velez (1951-Argentina) by Leopoldo Marechal, Furious Antigone (1986-Argentina) by Griselda Gambaro, The passion according to Antígona Pérez (1968-Puerto Rico) by Luis Rafael Sánchez, Antigone (1999- Peru) by José Watanabe, Antigonon. An epic contingent (2013-Cuba) by Rogelio Orizondo and Antigones. Court of women (2014-Colombia) by Carlos Satizabal. We start from the assumption that these dramas do this rewriting as a way of rethinking the national past and present and, especially, as a way of not forgetting the often traumatic experiences that these territories have experienced.
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44

DeBrohun, Jeri Blair. "TRAGIC CONTAMINATIO AND POLLUTED SACRIFICE IN SENECA'S OEDIPUS." Ramus 46, no. 1-2 (December 2017): 35–57. http://dx.doi.org/10.1017/rmu.2017.3.

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It has long been noticed that in his Oedipus, Seneca diverges conspicuously from his primary model, Sophocles’ Oedipus Tyrannus (OT), in a number of aspects. Prominent among these is an expansive, two-part ritual sequence at the play's center, comprising a prodigy-filled yet spectacularly unsuccessful sacrifice and extispicium followed by a more successful, if no less terrifying, necromancy to raise the slain Laius. This article concentrates on the sacrifice and extispicium (Sen. Oed. 288-402). I argue that in this episode Seneca has employed tragic contaminatio (the weaving into one play of significant elements from two or more different source plays) and allusion to produce an exceptionally innovative scene that is a remarkable display of the Roman playwright's ingenuity. For while Sophocles’ OT remains an active intertext, Seneca has also imported elements from Euripides’ Phoenissae. His primary model for the passage, moreover, is actually to be found in a different Sophoclean Theban play, Antigone. Specifically, Seneca has reworked and elaborated upon the climactic reversal scene between Creon and Tiresias in Antigone (998-1114), in which the seer reports on the corruption of the prophetic rites he has just performed and identifies Creon as the cause of the pollution, both for his continued refusal to allow the burial of the fallen Polyneices and for his entombment of the living Antigone.
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45

Kierstead, James. "Democracy’s Humility: A Reading of Sophocles’ Antigone." Polis: The Journal for Ancient Greek Political Thought 34, no. 2 (November 11, 2017): 288–305. http://dx.doi.org/10.1163/20512996-12340128.

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Abstract Hegelian readings of Antigone would have us believe that Creon and Antigone are both heroes and villains at once. In this essay, I argue that Creon is in fact the villain of the piece, and a paradigmatic tyrant. Far from representing democratic rationalism, Creon is in fact the antitype of the epistemic humility that was one of the foundational ideals of Athenian democracy. As the Ode to Man and Protagoras’ Great Speech in Plato’s dialogue both suggest, human expertise ultimately reaches its limits in the sphere of ethics, an area overseen by the gods. For both Protagoras and Sophocles, in my reconstruction, democratic and religious practices are not an arrogant attempt to deny this fact, but a way of humbly accepting it. Through the humbling of Creon and the piety and reasonableness of Teiresias, Haimon, and even the Guard, Antigone illustrates an essential characteristic of democracy: its humility.
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46

Cannizzaro, Francesco, Stefano Fanucchi, Francesco Morosi, and Leyla Ozbek. "SKĒPTRON IN SOPHOCLES’ OEDIPVS REX." Classical Quarterly 69, no. 2 (November 12, 2019): 515–22. http://dx.doi.org/10.1017/s0009838819000909.

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In Sophocles’ Oedipus Coloneus, after laying hands on Antigone and Ismene, Creon ridicules Oedipus by saying these words (OC 848–9):οὔκουν ποτ’ ἐκ τούτοιν γε μὴ σκήπτροιν ἔτιὁδοιπορήσῃς.Then you shall never more walk with the aid of these two props!It is possible that Creon is here alluding to Oedipus’ actual appearance throughout the play. As far as we know, Oedipus comes on stage with no walking stick, and uses Antigone and Ismene as a crutch while walking. Creon's comparing Oedipus’ daughters to a crutch, however, is also metaphorical. Such a metaphor is quite common in some modern languages (for example in Italian, ‘bastone della vecchiaia’, or in French, ‘bâton de vieillesse’), but was known by ancient Greek poetry as well. In Euripides’ Hecuba, for instance, Hecuba depicts her daughter Polyxena as her crutch (281 βάκτρον).
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47

Rosenfield, Kathrin H. "Getting Inside Sophocles' Mind Through Holderlin's Antigone." New Literary History 30, no. 1 (1999): 107–27. http://dx.doi.org/10.1353/nlh.1999.0013.

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48

MUELLER, MELISSA. "THE POLITICS OF GESTURE IN SOPHOCLES' ANTIGONE." Classical Quarterly 61, no. 2 (November 9, 2011): 412–25. http://dx.doi.org/10.1017/s000983881100019x.

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49

Craik, Elizabeth M. "Significant Language in Sophocles, "Antigone" 1192-1243." Quaderni Urbinati di Cultura Classica 70, no. 1 (2002): 89. http://dx.doi.org/10.2307/20546715.

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Kocijančič, Matic. "Truly Bewept, Full of Strife: The Myth of Antigone, the Burial of Enemies, and the Ideal of Reconciliation in Ancient Greek Literature." Clotho 3, no. 2 (December 24, 2021): 55–72. http://dx.doi.org/10.4312/clotho.3.2.55-72.

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Abstract:
In postwar Western culture, the myth of Antigone has been the subject of noted literary, literary-critical, dramatic, philosophical, and philological treatments, not least due to the strong influence of one of the key plays of the twentieth century, Jean Anouilh’s Antigone. The rich discussion of the myth has often dealt with its most famous formulation, Sophocles’ Antigone, but has paid less attention to the broader ancient context; the epic sources (the Iliad, Odyssey, Thebaid, and Oedipodea); the other tragic versions (Aeschylus’s Seven Against Thebes and his lost Eleusinians; Euripides’s Suppliants, Phoenician Women, and Antigone, of which only a few short fragments have been preserved); and the responses of late antiquity. This paper analyses the basic features of this nearly thousand-year-long ancient tradition and shows how they connect in surprising ways – sometimes even more directly than Sophoclean tragedy does – with the main issues in some unique contemporary traditions of its reception (especially the Slovenian, Polish and Argentine ones): the question of burying the wartime (or postwar) dead and the ideal of reconciliation.
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